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SEASON SPONSORS

The Lone Tree Arts Center is owned and operated by the City of Lone Tree.

Lone Tree City Council Scott Leonhart & Maggie Eichenlaub Michael R. Harris & Charlotte Min-Harris

Mayor Jim Gunning Mayor Pro Tem Jacqueline Millet Councilmember Harold Anderson

FAMILY & EDUCATION PROGRAMS SPONSORS

Councilmember Kim Monson Councilmember Susan Squyer

Lone Tree City Management City Manager Seth Hoffman Deputy City Manager Steve Hebert

Please Note:

The Tappan Foundation SEASON MEDIA SPONSOR

LONE TREE ARTS CENTER

Late seating is at the discretion of the House Manager and may not be available at all performances. Children are welcome in our theater, but bringing infants to a performance is highly discouraged, as they can become a distraction to performers and other audience members. Each individual must be ticketed to enter the theater.

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LONE TREE STAFF LISTINGS Lisa Rigsby Peterson, Executive Director,

Leigh Chandler, Marketing Director,

helped open the Lone Tree Arts Center in 2011 as its first Executive Director. Over her twenty-eight year career in performing arts management, she has been a part of many of Colorado’s leading cultural organizations – including The Denver Center for the Performing Arts, Curious Theatre Company, and PHAMALY; served on multiple arts and cultural boards and committees, and also worked abroad. A Colorado resident since 1975, Lisa is a graduate of the University of Colorado and the Yale School of Drama.

recently moved to Colorado from Vermont, where she served as the Director of Marketing and Communications for the Flynn Center for the Performing Arts for the past eight years. Leigh grew up outside of New York City and is a graduate of Cornell University.

Paul Ackerman, Technical Director,

Chris Husted, Rental Events Technician

is a native of Long Island, NY. Paul received his degree in Technical Theatre and Design from the University of Virginia. He has worked in Atlanta with The Atlanta Ballet, the Georgia Institute of Technology, and at the Fabulous Fox Theatre. Paul joined the team at LTAC prior to its opening in 2011 after serving as the Senior General Manager of Production for Blue Man Productions.

Courtney Ozaki Moch, Operations and Business Director, returns to her home state of Colorado after residing in New York City where she received her MFA degree in Performing Arts Management from Brooklyn College. As a producer and arts manager in NYC she has worked with cultural and interdisciplinary institutions including the inaugural PROTOTYPE festival, Brooklyn Academy of Music, Brooklyn Center for the Performing Arts, and The Joyce Theater. Her prior experience includes work with the Aspen Music Festival as well as the Boulder Chamber Orchestra.

Elaine Caras, Events Manager Allissa Dailey, Events Manager Kathy Denzer, Administrative Assistant

Jen Kiser, Assistant Technical Director Katie Konishi, Marketing Specialist Don Post, Lead Stage Technician Robin Scurto, Development & Marketing Associate Ashley Vander Weg, Box Office Manager Technical Staff: James Bryant, Mallory Hart, Elizabeth Porter, Brett Ranieri, Randy St. Pierre, Rick Thompson

Front of House Staff: Melissa Blair, Jean Chavez, Ken Fisher, Bonnie Kobzoff, Jim Murphy, Thaddeus Valdez

Bar Staff: Richard Davis, Elena de Prado, Anthony Martinez, Michelle Hendershott, Andy Frier, Charine Lung, Nicole Mills, Tianna Saez, Roberta Seifert

Five Things You Didn’t Know About… Our Technical Staff 1

Randy has appeared on the LTAC stage as a performer 5 times, most recently in the first show of the 15–16 season, Motown 2 Jersey.

Chris used to drive a Zamboni.

If you love looking at the art on our walls, you have Mallory to thank! She’s our expert art hanger. She’s also a trained artist and professional illustrator.

Our part-time employees also work in various arts facilities around the Denver area, including local high schools, the School of Rock and the Art Institute.

Jen and Don have been with LTAC since June of 2011—that’s even before LTAC’s grand opening!

LONE TREE ARTS CENTER

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Helping Lone Tree hit a high note.

Schwab proudly supports the Lone Tree Arts Center.

Music can inspire, motivate, and build strong communities—which is why we’re so passionate about supporting it in the places where we

Brian Folkerts Branch Manager Lone Tree 9899 Schwab Way Suite 100 Lone Tree, CO 80124 (720) 895-3416 www.schwab.com/lonetree

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Brokerage Products: Not FDIC-Insured • No Bank Guarantee • May Lose Value the Lone Tree Arts Center is not affiliated with Schwab or any of its subsidiaries or affiliates. ©2015 The Charles Schwab Corporation. All rights reserved. CS19752-13 (0414-2423) ADP79340-00 (08/15)

For every stage in life. Come discover what life at Holly Creek is all about by stopping in during one of our weekly Open House events. Holly Creek Open House Every Wednesday 10 am – 2 pm Snacks and Refreshments

Colorful Colorado Living. Call today for a private tour. 720.266.5611 5500 E. Peakview Ave., Centennial, CO 80121 HollyCreekRetirementCommunity.com

Proud supporter of the Lone Tree Arts Center’s 2015–16 season of dance, theater, music and performance

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LTAC Welcomes the New Year with Three New Ticket Packages Buy a mini-package and save! We have three new ticket packages for spring shows in the 15/16 Season. If you’re new to LTAC, try try a variety pack for a taste of what LTAC offers all season long.

Save on two, three, or four shows, and buy soon for the best seats! For full descriptions of performances, visit www.lonetreeartscenter.org. To purchase your ticket package, call the Box Office at 720-509-1000.

TWO FOR $66 National Geographic Live! Passion 8000: Dream of a Lifetime Mountaineer Gerlinde Kaltenbrunner Sunday, February 21, 7:30pm Coral Kingdoms and Empires of Ice Photographer David Doubilet and Aquatic Biologist Jennifer Hayes Friday, April 8, 8pm

THREE FOR $119 GuGu Drum Group Saturday, March 12, 7pm Colorado Ballet Director’s Choice: Ballets that Break the Rules Friday, April 1, 8pm Cyrano Opening Night A Boulder Ensemble Theatre Company Production Thursday, April 21, 7:30pm

FOUR FOR 10% OFF Create your own 4-show package and save 10% on your entire purchase.

Watch for the 2016/17 Season announcement this spring!

Photo: Ralf Dujmovits

Photo: Jennifer Hayes

LONE TREE ARTS CENTER

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“The Explorers Club,” 2015 Photo: Danny Lam

Celebrating Five Years, Looking to the Future By Lisa Rigsby Peterson, Executive Director

As you read this, LTAC staff are hard at work putting the final touches on the 2016–17 Lone Tree Arts Center season, our sixth as a professional presenting and producing theatre. It’s hard to believe that just five short seasons ago, we were under the microscope as area residents and arts patrons wondered what a small, brand-new arts center at the southern edge of the Denver area could possibly add to the mix. Arts in the Afternoon

LONE TREE ARTS CENTER

So what have we added to the mix? Here are just a few accomplishments: •P rofessionally-produced plays and musicals, all created right here, in house, by the LTAC team, including acclaimed productions such as The Explorers Club, The 39 Steps, Big River, and Sylvia. •A n outstanding array of intimate performances by national and international touring artists, ranging from Judy Collins and Randy Newman, to The Yellowjackets and SF Jazz Collective, to Broadway stars Brian Stokes Mitchell, Adam Pascal, Anthony Rapp and Jarrod Spector, to the Takács Quartet and Nathan Gunn. •A strong commitment to presenting the work of leading regional arts partners, including the Colorado Ballet, Opera Colorado, Central City Opera, and the Colorado Symphony Orchestra. •E xtensive, creative programs for children and families, ranging from Seedlings for children as young as 1, to Passport to Culture for children from 4 to 10, to accessible performances designed for the entire family. •T he south metro area’s first professional student matinee program, drawing over 8,000 schoolchildren a year from school districts across the metro area. • Groundbreaking programs for seniors, including Arts in the Afternoon, an affordable daytime professional concert series, as well as reduced cost senior matinees of our plays and musicals. • Award-winning, innovative programs for individuals with autism, intellectual or developmental disabilities, and other conditions that make it possible for them and their families to experience the arts as the rest of us do: in a welcoming, non-judgmental environment designed to welcome them back again and again. Our SF Family Tree series has won awards metro-wide and received national attention.

Passport to Culture

Not bad for five years. So what’s next? Over the past year and a half, we have engaged in a thoughtful strategic planning process that helped us focus on what our priorities are for the next five years. Our goal is this: The Lone Tree Arts Center is recognized as a national model for patron-focused arts engagement. Our focus areas to achieve that goal shouldn’t come as a surprise to anyone who has been part of our Lone Tree Arts Center family since we started. We commit ourselves to • Remarkable Programming • The Patron Experience • Our Place in the Community • Professional Stewardship and Planning

The 39 Steps, 2015 Photo: Danny Lam

As we enter our sixth season, I look forward to sharing what we intend to accomplish in each of these focus areas. But first, we pause to celebrate the successes of our first five years, and to thank you for making them possible. With your help, the Lone Tree Arts Center is not only the fastest growing arts center in the state, we are quite possibly one of the most dynamic arts centers in the country.

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How Cyrano Lost Its Home How is it possible for a play to be homeless? Technically, the entire theater company is temporarily displaced, which makes a little more sense. When the Boulder Ensemble Theater Company (BETC) heard that their home at the Dairy Center in Boulder would be undergoing serious renovations, they started to seek out other places to stage their productions. We asked Stephen Weitz, the co-founder and Producing Artistic Director (and Cyrano himself) to tell us more about how Cyrano found sa temporary abode here in Lone Tree. BETC is a small non-profit theater company, founded ten years ago and based out of Boulder, CO. Stephen Weitz has been there since the beginning. The company specializes in regional premieres of contemporary plays, as well as adaptations of classics, like Cyrano. In the past few seasons, BETC has won four Daily Camera “Camera’s Eye” awards, a Denver Post Ovation Award, and nine Henry Award nominations, among many others. Throughout their impressive history, the Dairy Center has been their home. The renovations to the Dairy Center have already started, and are expected to last until August. When the BETC got word that the renovations would take place right in the middle of their 10th season, everyone started debating all the different production options in front of them. Even though it sounds like a bit of a nightmare, Stephen said that it turned out to be a really exciting opportunity to enhance their artistic output and tackle some challenges that they hadn’t faced before. During BETC’s 2015-2016 season, they’re collaborating with the Fiske Planetarium at the University of Colorado – Boulder, performing a site-specific piece around Boulder, and coming here, to Lone Tree! Stephen and Lisa Rigsby Peterson, LTAC’s Executive Director, had known each other for years. He reached out to her to see if she had any interest in a collaboration. Lisa told him that she definitely had interest and to send her a few ideas of what he had in mind. He’d just read an adaptation of the classic Cyrano de Bergerac, a version written by Michael Hollinger and Aaron Posner, which seemed promising. It was a good fit for the theater company and an exciting opportunity for LTAC to expand our programming. Our patrons had been asking for something more classical for a few seasons and this collaboration was a great way to bring in that classic story with a more modern flair. LTAC had the space that the Dairy Center didn’t have and that made it possible to actually bring the production to life. According to Stephen, this production of Cyrano is “something really special.” It has all the hallmarks of the classic story—romance, comedy, adventure, and sword fights—but without the traditional verse that can sometimes bog down a production for a patron who isn’t used to that sort of language. It’s a modern version of a story that’s endured for centuries. It’s one of his favorite plays, so assuming the role of the title character is something very special for him. With a fantastic cast and design team, both LTAC and BETC are excited to be able to bring this production to life for our patrons. Stephen, personally, is excited to be able to introduce our patrons to BETC and to perform one of his favorite plays in LTAC’s beautiful theater. It’s a great collaboration that is not to be missed! Come and see Stephen and the BETC in Cyrano from April 21–30.

LONE TREE ARTS CENTER

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Cyrano By Edmond Rostand Translated by Michael Hollinger Adapted by Michael Hollinger and Aaron Posner A Boulder Ensemble Theatre Company Production

April 21-April 30

Cyrano is presented by special arrangement with Dramatists Play Service, Inc., New York. “Gascony Guard Song” and “Behold the Bee” by Michael Hollinger. Additional original music by Andrew Metzroth. Special thanks to the Boulder Valley Unitarian Universalist Fellowship.

Sponsored By:

Michael R. Harris and Charlotte Min-Harris

Isabelle Clark

Diana and Mike Kinsey

Rebecca Remaly..................................................Director Geoffrey Kent............................................. Fight Director *Jonathan D. Allsup...................................Stage Manager *Jordon Brockman.......................Assistant Stage Manager Tina Anderson.........................................Co-Set Designer Diana Ben-Kiki........................................... Wigs Designer Todd Debrecini...........................Prosthetic Nose Designer Anja Hose.......................................... Properties Designer Brenda King......................................... Costume Designer Jen Kiser...............................................Lighting Designer Andrew Metzroth..................... Sound Designer/Composer Ron Mueller............................................Co-Set Designer Liz Porter.......................................................... Wardrobe Priscilla Arasaki........................................................Violin Paulo Oliveira..........................................................Guitar

*Stephen Weitz...................................................... Cyrano Adrian Egolf......................................................... Roxane *John DiAntonio..................................................Christian *Logan Ernstthal................................................... Le Bret *Brian Shea......................................................De Guiche Casey Andree................... Ragueneau/Cyrano Understudy Benaiah Anderson....................... De Valvert/Fight Captain Michael Bouchard.................................................Liginere *Sammie Joe Kinnett............................................ Desiree Kevin Lowry....................................................Understudy Kyra Lindsay...................................................Understudy

*Member of the Actorâ&#x20AC;&#x2122;s Equity Association, the Union of Professional Actors and Stage Managers in the United States, appearing under a Mid-Sized Tier I Contract. This theatre operates under an agreement with Actorsâ&#x20AC;&#x2122; Equity Association, the Union of Professional Actors and Stage Managers.

Michael Hollinger, Author, is the author of Ghost-Writer, Opus, Tooth and Claw, Red Herring, Incorruptible, An Empty Plate in the Café Du Grand Boeuf, and Tiny Island, all of which premiered at Philadelphia’s Arden Theatre Company. These plays have enjoyed numerous productions around the country, in New York City, and abroad. His musical A Wonderful Noise (co-authored with Vance Lehmkuhl) has received the Frederick Loewe Award for Musical Theatre, the “In the Spirit of America” Award from the Barbara Barondess MacLean Foundation, and a developmental production at Creede Repertory Theatre. His translation/co-adaptation (with Aaron Posner) of Cyrano de Bergerac premiered in 2011 at the Folger Theatre in Washington, D.C. Other awards include a Harold & Mimi Steinberg New Play Citation from the American Theatre Critics Association, a Roger L. Stevens Award from the Kennedy Center’s Fund for New American Plays, a Mid-Atlantic Emmy Award, an Edgerton Foundation New American Plays Award, the F. Otto Haas Award for an Emerging Theatre Artist, three Barrymore Awards for Outstanding New Play, a Los Angeles Drama Critics Circle Award, nominations for Lucille Lortel and John Gassner Awards, and fellowships from the Independence Foundation, Mid-Atlantic Arts Foundation, and Pennsylvania Council on the Arts. Michael is an Associate Professor of Theatre at Villanova University, and a proud alumnus of New Dramatists. Aaron Posner, Author, is a Helen Hayes and Barrymore Award-winning director and playwright. He is a founder and former Artistic Director of Philadelphia’s Arden Theatre, is an Associate Artist at both the Folger Theatre and Milwaukee Repertory Theatre, and has directed at major regional theatres from coast to coast including the Folger, Seattle Rep, Portland Center Stage, The Alliance, Actor’s Theatre of Louisville, Arizona Theatre Company, Milwaukee Rep, California Shakespeare Theatre, Shakespeare Santa Cruz, Roundhouse Theatre, Studio Theatre, Signature Theatre, Theatre J, American Player’s Theatre, and

many more. His adaptations include Chaim Potok’s The Chosen and My Name is Asher Lev (both of which have enjoyed successful runs at more than 50 other theatres across the country), Ken Kesey’s Sometimes a Great Notion, Mark Twain’s A Murder, A Mystery and A Marriage, an adaptation of three Kurt Vonnegut short stories, entitled Who Am I This Time? (And Other Conundrums of Love) and Stupid F##king Bird, a variation on Chekhov’s Seagull. Aaron was raised in Eugene, Oregon, graduated from Northwestern University, is an Eisenhower Fellow, and lives near Washington, DC. *Jonathan D. Allsup, Stage Manager, has recently stage managed Glass Menagerie with Cherry Creek Theatre, Reunion’85 at Lone Tree Arts Center, The Wild Hunt by Bill Pullman for VisionBox Studios, BookFace: The Musical with Slingshot Productions, and The Archbishop’s Ceiling and Harvey at the Arvada Center for the Arts and Humanities. He was Assistant Stage Manager for A Christmas Carol at the Denver Center for the Performing Arts, Much Ado About Nothing and Othello at Colorado Shakespeare Festival, and She Loves Me and Memphis at the Arvada Center for the Arts and Humanities. Upcoming productions include Comedy of Errors and Troilus and Cressida at Colorado Shakespeare Festival. Jonathan served as production stage manager and managing director for Creede Repertory Theatre from 2007-2014 where he stage managed over 500 performances of over 30 productions. Jonathan has been a professional stage manager for 13 years, calling shows across the country on tour and in Denver, Chicago, and Washington State. Jonathan holds a degree in theatre from Northwestern College in Orange City, IA and teaches theatre workshops and classes for the Colorado Theatre Guild, at universities, including Metro State University of Denver, and at American College Theatre Festivals across the nation.

Tina Anderson, Co-Set Designer, is a Boulder native. Her most recent set designs are Violet, The Few, West Side Story, Young Frankenstein, The Marvelous Wonderettes, Stupid F##king Bird, Next to Normal, Ambition Facing West, The Sun Stood Still, and Spring Awakening. Tina was nominated Best Scenic Design for BETC’s world premiere of And the World Stood Still. Heather Beasley, Dramaturg, is BETC’s Director of Programs and Grants. She oversees BETC’s ancillary programs, including Script Club, Playdates, and the Generations new play development and residency program for parent playwrights. Most recently, she served as program coordinator for Vera Rubin: Bringing the Dark to Light, BETC’s collaborative immersive performance with Fiske Planetarium. As a grant writer, she has worked with outstanding local arts organizations including the CU Opera, Imagination Makers, and the Colorado Music Festival, in addition to her work with BETC. Heather received her Ph.D. in theatre from University of Colorado Boulder, her master’s in dramaturgy from Villanova University, and her undergraduate degree in theatre and creative writing from Creighton University. This is her tenth season working with the company, and Heather is a proud BETC Ensemble member. Diana Ben-Kiki, Wig Designer, is the Wig Master at the Denver Center Theatre Company. DCTC credits include Sweeney Todd, All The Way, Sense and Sensibility, White Christmas, A Christmas Carol, The Unsinkable Molly Brown, to name only a few. Other local credits include She Loves Me and A Man of No Importance at the Arvada Center, to also name only a few. She has also designed for Theatre Aspen, Lone Tree Arts Center, and the Galleria Theatre. *Jordon Brockman, Asst. Stage Manager, is thrilled to be working BETC once again. Recent shows include The Arabian Nights at the Aurora Fox, Exit Strategies at The Edge Theater, and Guys On Ice, The Ice Fishing Musical at the Aurora Fox.

Todd Debreceni, Prosthetic Nose Designer, began his career in entertainment with PBS while a graduate student at the University of Tennessee. Before starting his own small effects shop in Denver, Todd worked for cable television pioneer Ted Turner at TBS in Atlanta. He’s worked for Cannon Films, Warner Bros., Walt Disney Pictures, and 20th Century Fox Television. Film and television credits include Ink, Decay, Contact, Batman and Robin, My Favorite Martian, Captain Phillips, Die Hard II, Honey, We Shrunk Ourselves, Kinjite: Forbidden Subjects, and JAG. He has created makeup, makeup effects, special effects, and props for many stage productions, including Shrek, Spamalot, Man of La Mancha, Disney’s Beauty and the Beast, Young Frankenstein, Elephant Man, and Batboy: The Musical. Todd is the recipient of a 2015 True West Award, a Los Angeles Drama Critics Circle Award, two Denver Post Ovation Awards, a 2010 Henry Award nomination, and several other design awards for his work. He taught at the Art Institute of Colorado for nearly 17 years, has been a Guest Artist at the Denver School of the Arts for several years, theatre faculty at Metropolitan State University of Denver, and is an adjunct professor of the Theatre and Dance Department faculty at the University of Colorado in Boulder. Todd conducts workshops on prosthetic makeup design internationally, and literally wrote the book on special makeup effects; the 2nd edition of his highly acclaimed book is called Special Makeup Effects for Stage and Screen (Focal Press, 2013). Anja Hose, Props, is pleased to be back for another show with her favorite theatre company. Recent BETC credits include The SantaLand Diaries, Grounded, and Bach at Leipzig. She is recently returned from NYC, and is looking forward to attending a graduate program in media design at the University of Illinois this fall. Geoffrey Kent, Fight Director, is a Fight Director, Certified Teacher, and the former President of the Society of American Fight Directors. He is the resident Fight Director

for the Denver Center for the Performing Arts Theatre Company, the Colorado Shakespeare Festival, and received a Henry Award in 2012 for his ongoing work as a Fight Director. He has instructed stage combat for University of Colorado at Colorado Springs, University of Colorado at Boulder, University of Northern Colorado, the University of Denver, Louisiana State University, the University of Alabama, the North Carolina School of the Arts, and the National Theatre Conservatory. Brenda King, Costume Designer, is proud to be designing again with Boulder Ensemble Theatre Company. Previous BETC designs include The Few, Bach at Liepzig, Ghostwriter, An Empty Plate in the Café du Grand Boeuf, and the world premiere of Morisot Reclining, which garnered a Henry Award nomination and 2009 Camera Eye Theatre Award for Best Costume Design. Other local theatres Brenda designs with are Theatreworks, Phamaly, CU, and the CSF education department. Long ago, she designed for the Arden Theatre in Philadelphia, PA for the playwrights Aaron Posner and Michael Hollinger. Currently Brenda is the Costume Director for the Colorado Shakespeare Festival. Jen Kiser, Lighting Designer, is the Assistant Technical Director at LTAC. Previous designs have been seen at Goodspeed Musicals (Meet John Doe, Caraboo, Princess of Javasu), Hartford’s TheaterWorks (Fully Committed), Wadsworth Atheneum (Sister Mozart with Haley Mills), Lone Tree Arts Center (Reunion ’85, The Explorers Club, 39 Steps, Guys and Dolls in Concert, Big River, South Pacific in Concert, Bunnicula, Home for the Holidays, Sylvia, Hank Williams: Lost Highway, John Denver Holiday Concert, Alexander and the Terrible… Day), Arvada Center (How I Became a Pirate), and the Mizel Arts and Culture Center (The Value of Names). She has worked for the Guggenheim Museum, and assisted designers at venues including Papermill Playhouse, Carnegie Hall, Lincoln Center Festival, and on Broadway’s By Jeeves.

Andrew Metzroth, Sound Designer/ Composer, has helped create over 100 shows in the Denver metro area since 2005. Selected BETC credits include Ideation (Production Design), Hysteria (Sound), Ambition Facing West (Lighting Design), Grounded (Production Design), Bach at Leipzig (Sound), GhostWriter (Sound – 2013 Henry Nomination for Best Sound Design), The SantaLand Diaries (Lights/Sound), Shipwrecked! (Sound/ Music), Mauritius (Lights/Sound), Empty Plate… (Lights/Sound), The Clean House (Sound/Music). Other Colorado credits include Marat/Sade, The Grapes of Wrath (Sound/Music), Autobahn, ‘tis Pity She’s a Whore, and The Time Machine (Director) at CU-Boulder; Aphrodisiac (Asst. Lighting Design), The Lieutenant of Inishman, and The Denver Project (Master Electrician) at Curious Theatre Company, numerous set and lighting designs for Center Stage, and resident stage manager for Stories on Stage. He holds a BFA in Theatre Technology and Design, a BA in Religious Studies, and an MA in Theatre from CU-Boulder. Ron Mueller, Co-Set Designer, is the Technical Director for the College of Music at the University of Colorado in Boulder. Most recently he designed scenery for BETC’s production of Outside Mullingar. Last year he designed scenery and lighting for BETC’s Aliens and for BETC’s 2013-14 season, he designed scenery and lighting for Annapurna and scenery for Seminar. He received a Kennedy Center ACTF Meritorious Achievement Award for his scenic design of CU Theatre and Dance’s production of Legacy of Light last fall. He designed lighting for Crested Butte Music Festival’s 2013 production of Barber of Seville and has since designed scenery and lighting for their productions of Rigoletto and Don Pasquale. Most recently at CU Music, he designed scenery for Side by Side by Sondheim and Albert Herring. He also designed lighting for CU’s New Opera Workshop (CU NOW) productions of new works over the last several years. He has been a scenic and lighting

technician for the Opera Colorado, Skylight Opera Theatre, Colorado Shakespeare Festival, Boulder’s Dinner Theatre, Theatre X, Milwaukee Chamber Theater, Boulder Broadway Company, Broadway in Boulder, University of Denver Lamont School of Music, and the University of Wisconsin-Milwaukee. He has designed scenery and/or lighting for many of these same organizations. Rebecca Remaly, Director, is a proud BETC co-founder. Directing credits with BETC include the world premiere of Morisot Reclining (Henry Award Nomination, Best New Play 2009), Outside Mullingar, The Aliens, Annapurna, Mauritius, Shipwrecked!, An Empty Plate in the Café du Grand Boeuf, The Clean House, Copenhagen, Danny and the Deep Blue Sea, and Savage in Limbo. Sometimes an actor, Rebecca appeared in the BETC productions Stupid F##king Bird (Mash), Doubt (Sister James), Stop Kiss (Sara), The Glass Menagerie (Laura), and Antigone (Ismene). When Rebecca isn’t managing, directing, or acting with BETC, she loves working with other companies, including Curious Theatre Company (Hannah in the world premiere of Collapse), And Toto Too (Essie in The Glider), Colorado Shakespeare Festival (four seasons as an actor/director/ musical director), George Street Playhouse, Manhattan Theatre Club, and Bloomsburg Theatre Ensemble. Rebecca is honored to be a 2015 recipient of a True West Award. Benaiah Anderson, Valvert, is a Boulderbased actor. He has acted and fought all along the Front Range at the Denver Center, the Arvada Center, the Colorado Shakespeare Festival, and Boulder Ensemble Theatre Company where he has appeared in such shows as Romeo and Juliet, Macbeth, Two Gentlemen of Verona, The Three Musketeers, Treasure Island, and The Other Place. This is his second time playing Valvert, you would think he would have learned not to make fun of Cyrano.

Casey Andree, Ragueneau and Cyrano Understudy, has appeared in Ambition Facing West, The Aliens, and Cyrano at BETC. Elsewhere, he has performed as Claude in Town Hall Arts Center’s production of HAIR (Henry & True West nominations, Outstanding Actor in a Leading Role, Henry award, Best Ensemble) and Melchior in Spring Awakening (True West award, Outstanding Production of a Musical), also at THAC. Casey played Claudio in the Colorado Shakespeare Festival’s production of Much Ado About Nothing, among other roles. He played lead guitar in Boulder’s Dinner Theatre’s production of Buddy: The Buddy Holly Story. He holds his Bachelor’s degree in Classics-English from Colorado College, as well as his Master’s degree in Education. Michael Bouchard, Liginere, has just finished a run of The Glass Menagerie at Cherry Creek Theatre and is happy to be back at BETC where he was last seen in as Dali in Hysteria, for which he recently won Westword’s Best Supporting Actor in a Comedy award. Around town, Michael has performed with the Denver Center Theater Company, Arvada Center, Avenue Theater, Curious Theater Company, The Catamounts, Colorado Shakespeare Festival, Cherry Creek Theatre, The Edge Theatre, Miners Alley Playhouse, and the Vintage Theater. Michael is a graduate of the Pacific Conservatory of the Performing Arts and an Ensemble Member at the Boulder Ensemble Theatre Company. He is also the 2009 winner of Best Season by an Actor by the Denver Post, 2011 Denver Post, Westword, and Marlowe winner of Best Supporting actor in a Comedy; 2012 Westword winner of Best On Stage Couple.

*John DiAntonio, Christian, is thrilled to return to the Lone Tree Arts Center and make his Boulder Ensemble Theatre Company debut. His recent acting credits include: The 39 Steps (Lone Tree Arts Center), August: Osage County, Hope & Gravity, and Taming of the Shrew (Creede Repertory Theatre), It’s a Wonderful Life and The Liar (Theatreworks), Is He Dead? and Good on Paper (Arvada Center), Othello and A Christmas Carol (Denver Center Theatre Company), Romeo and Juliet (Cleveland Shakespeare Festival), Midsummer (Cleveland Play House), and Henry V (Shakespeare Orange County). John’s also written several plays. His play Harry the Great (True West Award nomination) played at LTAC in 2012. His newest, Kind of Red, is being produced at CRT this summer. John received his MFA from the National Theatre Conservatory. He is currently the Associate Artistic Director of the Creede Repertory Theatre. Adrian Egolf, Roxane, is so happy to be back at the Lone Tree Arts Center with the Boulder Ensemble Theater Company in the role of Roxane. Previously with BETC, Adrian appeared as Young Alma in Ambition Facing West and recently had the honor of becoming a member of BETC’s Artistic Ensemble. Adrian’s other stage credits include: As You Like It, Benediction, Death of a Salesman, Romeo and Juliet, The Most Deserving (The Denver Center for the Performing Arts); The Archbishop’s Ceiling, Is He Dead? (The Arvada Center); The Taming of the Shrew (The Colorado Shakespeare Festival); Romeo and Juliet (The Colorado Symphony), Steel Magnolias (The Barth Hotel), The Graduate (The Edge Theater), Unnecessary Farce, How To Succeed, Quilters, The Ladies Man, Boomtown, The Drowsy Chaperone, Fools, Leading Ladies (Creede Repertory Theater); God of Carnage (Off

Square Theater Company), The Twelve Dates of Christmas, Of Mice and Men (Colorado Springs Fine Arts Center); Rumpelstiltskin, Androcles the Lion (Denver Children’s Theater); Boeing Boeing (Theatreworks), Present Laughter (Miner’s Alley), Tales of the City (Eugene O’Neill Theater Center). Adrian received her training at The National Theater Institute and was nominated for Best Supporting Actress in the 2013 True West Awards for her portrayal of Shelby in Steel Magnolias. Adrian also runs her own theater company, ScreenPLAY, which raises money for arts-based non-profits in Colorado with staged readings of movie favorites. *Logan Ernstthal, Le Bret, is thrilled to be a part of this show, season, and company! Coming from Creede, CO, Logan’s artistic home has been Creede Repertory Theatre. Some of his favorite roles at CRT: Sheriff Gilbeau in August: Osage County, Stage Manager in Our Town, Pseudolus in Funny Thing…Forum, Marius in The Road to Mecca, Jamie Tyrone in Moon for the Misbegotten, El Gallo in The Fantastics, Ivan in A Beautiful Country, Mitch in The 25th Annual Putnam County Spelling Bee, and Merle in The Joy of Going Somewhere Definite. Other favorite roles include: Lennie (Of Mice & Men) with Colorado Springs Fine Arts Center, Polonius (Hamlet) and Toby Belch (Twelfth Night) with the National Shakespeare Company, Doalty (Translations) with Actors Theatre Kansas City, Frederick (Noises Off), Malvolio (Twelfth Night), and Vershinin (Three Sisters) with UMKC, where he received a MFA in ’08; Tito (Lend Me a Tenor) and Lazar Wolf (Fiddler on the Roof) with Theatre on the Hill. He has worked at Shakespeare Festivals all over the country including Colorado, Heart of America, Riverside, and Utah.

*Sammie Joe Kinnett, Desiree, is excited to be working with The Lone Tree Arts Center and Boulder Ensemble Theatre Company. He was last at the Arts Center in 2015 for The 39 Steps. In 2013, he received Best Actor Award from both the Pike’s Peak Arts Council and The Gazette’s Best Of. You may have seen him at The Colorado Shakespeare Festival in A Midsummer Night’s Dream and The Tempest, The Arvada Center in How I Became A Pirate, THEATREWORKS’ productions of The Servant of Two Masters, The Lying Kind, It’s a Wonderful Life: The Radio Play, You Can’t Take it With You, Love’s Labours Lost, The 39 Steps, and many more; The Colorado Springs Fine Arts Center in Sweeney Todd and Noises Off, The WyNot Radio, and Theatre ‘d Art. Kyra Lindsay, Roxanne Understudy, DCPA: Death of a Salesman, A Christmas Carol, Shadowlands. Aurora Fox: She Kills Monsters. Colorado Shakespeare Festival: The Tempest, Merry Wives of Windsor. Creede Repertory Theatre: The Drowsy Chaperone, Harry the Great. Arvada Center: Charlotte’s Web. Starkey Theatrix: White Christmas. Candlelight Dinner Playhouse: Annie Warbucks. Southern Colorado Repertory Theatre: Nunsense, Baby. Town Hall Arts Center: Unsinkable Molly Brown. Shuler Theatre: Taming of the Shew, Love, Sex and the I.R.S., Little Shop of Horrors. Kevin Lowry, Understudy, is an actor, improviser, and educator in Denver. He has worked across Colorado in A Man for All Seasons (Arvada Center), Godspell (Aurora Fox), Denver Stories 2015 (Curious Theatre), Bengal Tiger at the Baghdad Zoo (Broadway World, Best Supporting Actor) (The Edge) Twelfth

Night, Macbeth, Much Ado About Nothing (No Holds Bard), Shining City (Miners Alley), The Roadhouse, The 39 Steps, Out of Order (Backstage Theatre), Othello: A Khorus Line, The Travesty of Lear (The Betsy Stage), and can be seen performing improv with the groups Makeshift Shakespeare (Best Long Form Group, Colorado Improv Awards 2014) and Hot Nap (Voodoo Comedy Playhouse). *Brian Shea, De Guiche, is thrilled to be doing another show with BETC, having appeared in Ideation and Stupid F##king Bird. Other local theatre credits include On An Average Day at Curious Theatre Company, Savage in Limbo and Abundance with Sis Tryst, and Death of a Salesman, The Winter’s Tale, and The Tempest at the Denver Center Theatre Company. Brian has also worked extensively on-camera. He is a graduate of NYU’s Tisch School of the Arts, and the National Theatre Conservatory. *Stephen Weitz, Cyrano, is the Producing Ensemble Director of the Boulder Ensemble Theatre Company (BETC). He has directed the BETC productions Antigone, Fat Pig, The Sunset Limited, Gross Indecency, How The World Began, Bach at Leipzig, Seminar, The Santaland Diaries, Ambition Facing West, And the Sun Stood Still, Stupid F##king Bird, and Ideation. Stephen also directed the Denver Center’s recent productions of Tribes and Jackie and Me. He is a frequent guest actor at the Denver Center, where he has appeared in productions of Tom Sawyer, King Lear, Richard III, Othello, and A Midsummer Night’s Dream. He has worked at other prominent area theatres such as the Colorado Shakespeare Festival, the Arvada Center, and TheatreWorks. Stephen holds an MFA from the Acting program at the Alabama Shakespeare Festival as well as an MA in Theatre from CU-Boulder.

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“I Hate Hamlet,” Colorado Shakespeare Festival, 2014 Photo: Zachary Andrews

Who is... Geoffrey Kent “Having a sword in my hand felt like my calling.” That’s what Geoffrey Kent says of the start of his career in stage combat choreography. It’s not something he ever thought he’d do for a living, but now, twenty years later, he’s made a career of it. Kent choreographed the Boulder Theater Ensemble’s production of Cyrano, with performances at LTAC April 21-30. In college, Geoffrey majored in theater but realized that he “wasn’t as good of an actor as the rest of the class.” But he found his place in a stage combat workshop. The physical part of acting is what always appealed most to Geoffrey, so having a sword in hand just felt right. Originally, stage combat was just a bit of a hobby. But the hobby turned into small theaters and high schools asking for help to choreograph combat, which turned into teaching. Geoffrey landed at the National Theatre Conservatory, a graduate program under the Denver Center Theater Company that sadly closed in 2012. While teaching at the Conservatory, Geoffrey started to choreograph for the Denver Center. Without ever really meaning to, Geoffrey had found himself a career as a combat choreographer. It actually takes a lot of studying to choreograph a proper fight. Geoffrey has to do a lot of research before swords ever are in actors’ hands. For Cyrano in particular, he had to research the role of dueling in the time period (1640, for those of you who don’t remember your reading from high school). He looked at documents and pictures from the time period to get ideas of what duels looked like. He then looked to the script and the direction provided there. Cyrano composes a poem during the fight and the poem itself gave a lot of direction

LONE TREE ARTS CENTER

on the sort of movement that should be occurring on stage. But the fun really starts when the actors and the director comes into play. Everyone works with each other and with the script to bring the best fight possible to life. Geoffrey says that the hardest part of choreographing a routine is the collaboration aspect. He has to create a fight that’s safe for the actors to engage in but also thrilling for the audience to watch. Once he’s in the room with the actors and the director, he also has to take into account everyone’s strengths, weaknesses, and opinions to help shape the combat. But the collaboration is also his favorite part of choreographing a fight. He says, “the actual fight is a complex dance of everyone’s ideas coming together.” Cyrano is one of his favorite shows to work on, and especially this production of the show. Geoffrey likes to look for a “dynamic piece of action that tells a complicated story.” He likes that audiences learn something about the character of Cyrano through the fight—it’s a blend of intelligence and physical strength. He also choreographs combat for a lot of Shakespearean plays with the Colorado Shakespeare Festival and enjoys that everything in Shakespeare is so high stakes; everything is life and death. He’s excited to be working on Cyrano with this cast. He’s worked with Stephen Weitz and Benaiah Anderson for years and considers them to be two of the best swordsmen in Colorado. It presents a unique sort of challenge to choreograph for actors who could do anything and everything that Geoffrey asks of them. Come see Cyrano on April 21–30!

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Cherish the Ladies “It is simply impossible to imagine an audience that wouldn't enjoy what they do,” says the Boston Globe about Cherish the Ladies, the long-running, Grammy-nominated, Irish-American super group that formed in New York City in 1985 to celebrate the rise of extraordinary women in what had been a maledominated Irish music scene and has since toured the world. Cherish the Ladies is now among the busiest, best, and most popular Irish music groups in the world. Now celebrating 30 years on the road, the ensemble has performed its rousing Irish music with extraordinary step dancers at the White House and the Olympics. The all-female band was named Best Musical Group of the Year by the BBC and the Top North American Celtic act by NPR Radio’s “Thistle and Shamrock” program. They have 16 albums including An Irish Homecoming, a live recording of their Emmy Award-winning public television special that aired across America and Ireland. Named after a popular Irish traditional jig, Cherish the Ladies has shown that Irish traditional music from America remains a vibrant, diasporic marvel. The Ladies are first generation IrishAmerican women with pride in their roots, terrific senses of humor, and heaps of music in their fingers and toes. Irish traditional music in the United States has a long and varied history, both in recording culture and live performances. Emigrants from Ireland have brought their instruments and repertoire to the U.S. since the earliest days of European colonization of the New World. The history of musicians from Ireland taking up residency in New York and beyond is one

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side of the story. Another is the learning and playing of Irish music by first and second generation Irish-Americans. And yet another is the widespread interest in the music by Americans from every background. In the wake of the Depression and World War II, traditional Irish music in New York was belittled by show band culture, but performers kept the tradition alive, and were teachers of the music to Irish Americans. Many great Irish American performers including Andy McGann, Brian Conway, Jerry O'Sullivan, Liz Carroll, Billy McComiskey, and Joanie Madden would rise to achieve a level of accomplishment in the traditional music usually associated with native Irish. The Ladies dust the perceived cobwebs off traditional music by presenting it in a new light, with a mixture of first class, “kick-ass” musicianship, sensational singing, dynamic dancing, and infectious humor—without losing respect for their musical roots. Joanie Madden leads Cherish the Ladies on whistles, flute, and harmony vocals, and with the rest of the band, creates an evening of virtuosic music with instrumental talents, beautiful vocals, captivating arrangements, and stunning step dancing. “[The band] expands the annals of Irish music in America… the music is passionate, tender, and rambunctious,” says Jon Pareles of The New York Times. Make your St. Patrick’s Day celebration plans now with Cherish the Ladies at LTAC for a one-night-only performance that will have you “stepping” in your seat!

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SCFD: A Generation of Arts and Culture In 1989, the Scientific and Cultural Facilities District (SCFD) burst into existence thanks to the support of metro area residents committed to ensuring the future of such treasured institutions as the Denver Zoo, the Museum of Nature and Science, the Denver Art Museum, and the Denver Botanic Gardens. By approving a one half of one percent sales tax, voters helped guarantee that not only those organizations, but dozens and dozens of other arts and cultural organizations would receive the support they needed to help them grow. Now, a generation later, residents throughout the metro area are sharing in the bounty that SCFD has made possible. Millions of families bring their children to the Zoo, Childrenâ&#x20AC;&#x2122;s Museum, and the Museum of Nature and Science each year. School buses from every district in the region converge at the downtown Denver Performing Arts Complex to bring arts and culture to life for tens of thousands of students each year. Every single school in the SCFD District has received an in-school program from some SCFD-funded organization. Date nights happen at late night events at area museums and arts groups. Seniors gather together in places like the Lone Tree Arts Center to keep the arts central to their lives. For the sales tax equivalent of about $10 per person per year, we all benefit from the riches of the SCFD. World-class exhibits like the Chihuly display at the Botanic Gardens, the upcoming Star Wars costume exhibit at the Art Musuem, and a 21st century zoo are all high-profile examples of how SCFD funds have brought outstanding experiences to metro area residents. At the Lone Tree Arts Center, we have used our SCFD funding to celebrate the generations that we serve through our programs. From Seedlings for the very youngest audience members and their parents, to Passport to Culture for school-aged children and their families, to Arts in the Afternoon and senior matinees for our older patrons, we use SCFD money to make sure that the generational investment in arts and culture made by voter support of SCFD continues to be a wise one. We use SCFD funds to bring artists to Lone Tree that might never have thought to perform in Colorado before, and we use SCFD funds to create new programs like our award-winning sensory friendly work. We are grateful for the investment that metro area voters made in the Scientific and Cultural Facilities District a generation ago. It has made much of our work possible, and has opened a world of other possibilities to all of us fortunate enough to call the metro-Denver area home.

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FUNDRAISING LEADERSHIP COUNCIL Kent Clark David A. DeFore Jim Gunning Susan Hicks Seth Hoffman Joel and Janet Kaufman Scott Leonhart Peter Loeffler Brian McDonald Charlotte Min-Harris Pamela Schenck-Kelly Keith Simon Betty A. and Don E. Winslow

COMMUNITY FUNDRAISING ADVISORY BOARD Carole and Bob Adelstein

The LTAC Corporate Circle is a group of community businesses whose philanthropy supports the mission of the Lone Tree Arts Center. Corporate Circle members enjoy a range of exclusive benefits including sponsorship recognition opportunities, invitations to VIP donor events and concierge services. Please call (720) 509-1009 or email robin.scurto@cityoflonetree.com for further information.

LONE TREE ARTS CENTER

Cathie Brunnick Sheryl Gurrentz Mel Semrad Betsy Schutte

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Donor Profiles Berkeley Homes and Harvard Communities Berkeley Homes and Harvard Communities are two established local homebuilders that have been building in the Denver metro area for over 25 years. The companies recently partnered to develop two communities in Lone Tree’s RidgeGate neighborhood— ParkSide and NorthSky—and are working together again at Denver’s Lowry Boulevard One development and at Connections in Westminster. The Berkeley/Harvard partnership brings together a pair of well-respected organizations with complementary skills and experiences. Harvard and Berkeley have brought creativity and innovation to the homebuilding industry, building a wide range of successful homes and neighborhoods over their five year partnership. Harvard’s experience in building solar and energy efficient homes, as well as creating unique homes and neighborhoods tailored to specific niche markets, complements Berkeley’s production and creative capabilities and 25 year history as one of Denver’s premier, quality locally-owned homebuilders. Harvard and Berkeley originally teamed together in 2011 to design and build ParkSide at RidgeGate, 31 single family homes in Lone Tree. ParkSide was the first neighborhood in Colorado to feature solar electricity as a standard feature on every home. Harvard and Berkeley also teamed together to develop the NorthSky neighborhood, a national winner for Project of the Year and Best Architectural Design of a home. Named for its views of the “north sky”, this neighborhood features 33 unique homes that have beautiful views of the Front Range and downtown Denver. Berkeley and Harvard’s latest adventure is underway in Lowry’s newest community—Boulevard One. Their unique architectural designs and creativity, as well as their astounding energy efficiency standards, continue in this urban development, where they will be building 34 single family homes ranging from the $700s to over one million dollars. The partnership of Berkeley and Harvard has been a great success and they look to continue bringing the creativity and strengths of their dynamic partnerships to more neighborhoods in Colorado.

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PARTNERS & SUPPORTERS This list includes donors to the Lone Tree Arts Center from October 1, 2014 to January 4, 2016. If we have inadvertently omitted your name, please contact us at 720-509-1009 so that we can correct our listings. Thank you for your support.

$20,000+

• Scientific and Cultural Facilities District

$10,000-$19,999 • Andrews Winslow Foundation • Bellco Credit Union • Century Communities, Inc. • Charles Schwab • Colorado Creative Industries • Lone Tree Arts Center Guild

• Scott Leonhart and Maggie Eichenlaub • Martin Fein Interests, Ltd. Park Meadows Business • Improvement District • Sky Ridge Medical Center • Wilks Broadcasting • Betty A. and Don E. Winslow

$5,000-$9,999 Berkeley Homes and •Harvard Communities Linda • Bjelland • CliftonLarsonAllen LLP

Fixed Income • D.A. Davidson Capital Markets Foundation • TheArtsDenver Affinity Group • Developmental Pathways • HEI Civil

LONE TREE ARTS CENTER

• Janet and Joel Kaufman • MorningStar Senior Living • Ralph and Trish Nagel • New Town Builders • RidgeGate

$2,500-$4,999 • David A. Defore

County Developmental • Douglas Disabilities Mill Levy Grant

• Michael R. Harris and Charlotte Min-Harris • Peter and Virginia Loeffler • McGeady Sisneros • Merrick & Company • Betsy Schutte • The Tappan Foundation

$1,000-$2,499 • Carol and Bob Adelstein • FirstBank Sheryl and Andy Gurrentz • • Fred Kaserman Rod • and Marilyn Nielsen • Rainold Family Foundation • M.J. “Mel” and Virginia Semrad • Paul and Susan Squyer • Charles and Brenda Vitaska • Wells Fargo Foundation Arts Federation • Western States (WESTAF)

$500-$999 •

Dr. Delfina Ashley-Baisden

• Banko Family Fund • Matt and Greta Calkins • Wes and Terry Colburn

(A Donor Advised Fund of The Denver Foundation)

• Seth and Sara Hoffman and Family • Lisa Rigsby Peterson • Robin and Chris Scurto • Sheila and Paul Shepherd • Whole Foods Market • James and Barbara Wightman

$250-$499 • Harold and Ada Anderson • Anonymous Jim • and Tabby Briggs • Shirley and Roland Calhoun • Donald E. Dillard • Marilyn and George Dockery • Judy K. Hall • Jim Harvey and Bob Greene

• Alicia McCommons and Craig Johnson • Norman C. and Florence R. Miller • Hurley and Claire Mitchell • Leslie and Jeff Modesitt • Michael and Sharon Modiz • Susan and Bill Smith Richard J. and Gayle M. Spelts • • Ken Waugh DONOR TYPE

• = core support • = children support

• = programming support • = corporate circle support • = senior support = sensory friendly support •

$100-$249 • Anonymous • Barry Blackman • Thomas Butler

• Vincent and Penza Calarco

• Linda and Fernando Castaneda • In Memory of Barbara Daniels • Katy Dole • Philip Eves • Don and Audrey Fisher • Karen and C. Dale Flowers • Janet Hanna Don • and Susan Hicks • Dennis and Margaret Holman • Vic and Lydia Jacobs • Dr. Weston Johnson • Betty W. Kelley • Michelle Konishi • Tom and Doris Larson Bruce and Mary Lou Laubach • • Kim Laudenslager • Joyce and William Lew • David and Bobbie Marfitano • Mary M. Mathews • Mary McMillan Becky and Brett Narlinger • • Martin and Barbara O’Brien • Hannelore Rimlinger • Col. Frank Romano • Carolyn Samuels Keith • and Victoria Simon Stolzenburg and • Melvin Rosemarie Martinez • Debra and Roland Stubblefield • Roger and Ellen Vacco • Heather Van Dusen • In Memory of Lee VanRamshorst • Leon and Alla Veremeychik • Rita Walensa Clarence and Eva Williams • • Michael Zumwalt w w w. L o n eT r e e A r t s C e n t e r. o r g

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Theater Trivia What is a sitzprobe? a) T he part of the production process during which the script is analyzed by the actors b) A meeting between the director and designers to plan scenic pieces c) The first rehearsal of the full orchestra d) T he first rehearsal with the full orchestra and cast ANSWER: (d) The German translation of sitzprobe is “seated rehearsal.” Most likely originating in German opera, the term has come to mean a rehearsal with all performers and musicians, but without scenery, costumes, or blocking. The lack of technical elements mean this rehearsal does not have to take place on the stage, and full attention can be given to the blending and interaction of the performers and musicians. A more involved rehearsal is the wandelprobe, during which the cast can “wander” the stage. Technical elements remain minimal, but the performers practice some of their blocking, while also rehearsing music.

Where in the theater do we use birdies? a) In the rigging system b) Inside a costume c) It is a nickname for the theater-wide communication system d) A nywhere onstage—it is a small light that can be mounted and hidden as needed ANSWER: (d) One common style of stage light is the PAR can, or Parabolic Aluminized Reflector lamp (think of a car headlight), which is typically housed in an aluminum can-shaped body. PAR lamps come in a number of sizes. The most

LONE TREE ARTS CENTER

common is the PAR64—these are the classic shiny silver fixtures throwing lots of light and color on your favorite rock stars. The smallest is the PAR16, or birdie. These lights are small enough to mount on scenery, props or in hard to reach (and light) areas of the set. While the origin of the name is generally taken for granted, it has been said that the term comes from the fact that the light is so small, it is thought of as “one under PAR”—or, in golf terms, a birdie.

Which of these theatrical terms is not related to the others? a) Leg b) Tormentor c) Trap d) Border ANSWER: (c) “Trap” generally refers to trap door, a door in the stage floor through which actors or scenery can move. The others are all types of panels used to hide (mask) objects or parts of the stage that shouldn’t be seen. Some masking panels are hard flats, but many are not: “soft goods,” “drapes,” and “stage curtains” are all used to describe fabric masking curtains. The Lone Tree Arts Center has a set of black velour panels, particularly visible when there is no scenery onstage. Borders are hung horizontally above the stage, and are used to mask lighting, speakers, flown scenery and rigging battens. Legs and tabs are hung vertically on the sides of the stage, and are used to mask the backstage wings. In our theater, the colored fabric panels hung closest to the proscenium are the “teaser” and the “tormentors.” It is assumed that these pieces are so called because of the effect they had on audience members who might like to get a glimpse of what is going on offstage!

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